Did you know the largest collector of Julian Opie’s work is Japanese? Masatoshi Kumagai, CEO of GMO Internet Group, was first introduced to the artist’s work by the late Takaya Iwasaki, owner of the fashion brand PERSON’S. He recalls his journey to becoming a collector. “My first encounter with art was probably an Andy Warhol poster my father had. The first art - related thing I bought after I started working was a poster by the French painter Bernard Cathelin. Later, as my company took off, I started to buy actual artworks. I remember that it was Iwasaki that showed me one of Julian Opie’s works, which led to me buying it.
We asked each of the collectors interviewed for this feature if they had a question for Opie. Kumagai, who is committed to consistently providing the best possible service, asked about what it means to be number one. He explained that as he built up his art collection, he thought about how he could become the “greatest” art collector. That’s when he decided to focus on the work of Julian Opie. Why Opie? “Our world is full of complex things. Yet humans remain the most enigmatic of all. Opie depicts people in a simplified way that makes me think of the internet – even the most complex screen images are composed of 0s and 1s. An entire world is constructed with these two elements. Likewise, Opie depicts complex worlds while portraying subjects with minimal detail. I felt instinctively drawn to that.”
Kumagai exhibited one of Opie’s LED works at the 2025 World Expo in Osaka, Japan. After close consultation with the artist, a new display unit was specially produced for the occasion. Kumagai believes that promoting culture helps keep a company from aging. “Sensibilities are key to providing our services. I respect engineers who write beautiful code, creators who build beautiful websites. Their sensibilities are no different from that of artists. That’s why it’s important for them to regularly engage with the real deal. I believe that creating office spaces filled with art will inspire us to provide beautiful services.”

What captivates the writer who has made a career out of crafting compelling characters? Displayed in Mariko Hayashi’s office is a piece by Julian Opie created using lenticular printing, where the image changes depending on the viewing angle. She says she first encountered the artist’s work at the Imperial Hotel in Tokyo. Intrigued, she mentioned it to an acquaintance, who then introduced her to MAHO KUBOTA GALLERY, which represents Opie in Japan. They informed her that Opie had one piece available for sale at his London studio. “When I put it up, the feel of the space changed dramatically. It introduced movement, as if the bustle of city life had sprung up inside my office.” She laughs as she recounts how visitors often tell her the woman on the left looks exactly like her daughter. “They’re right – the look is totally her.”
Although she modestly claims to know very little about art, she admits that she bought a piece by Yoshitomo Nara the year her daughter was born. “He’d just published his first art book. And the covers that he did for Banana Yoshimoto’s books were wonderful.”
Hayashi’s art collection stems from human connections. A drawing by Rikako Kawauchi she encountered when she served as a judge in an open call program for artists. Artworks purchased at Tokyo University of the Arts graduation exhibitions. Pieces featured as cover art for her books. Meanwhile, her private office at Nihon University, where she serves as chair, is adorned with paintings by Hiroshi Senju and Takayoshi Sakurai. “I sense serenity in Senju’s work, and radiant power in Sakurai’s. You could be the most successful person in the world – a house without a single painting feels lonely, sad. Art is essential for living a forward-looking life. And you can start small. I don’t approach it as an investment – I’m just decorating with an assortment of artwork that spoke to me.”
Sitting among her collection is a postcard she received from the gallery announcing Opie’s solo exhibition. “It was just so beautiful, I’ve kept it on display. I’m not the type who follows a single artist closely, but I’d love to encounter his work again.”

The street fashion that emerged from Tokyo’s Ura-Harajuku neighborhood in the 1990s has had a lasting influence around the world. The scene made a particular impact on art collector Yu Kimoto. His collection started with figurines he purchased at Original Fake – a shop co-founded by the artist KAWS – and later expanded to include paintings and sculptures. “Initially, I enjoyed displaying art in the same way I enjoyed coordinating an outfit.”
Among Kimoto’s collection is an early piece by Julian Opie that was unveiled at a solo show at Kohji Ogura Gallery in 1991. “Before that piece, I was focused on buying artists’ most iconic works. But acquiring it changed my perspective. It’s very different stylistically from Opie’s art today, but I sensed a common thread. In his work, figures are rendered as outlines and landscapes are framed. I began to think that framing might be fundamental to his art.”
Intrigued, Kimoto traced the evolution of Opie’s art from his early career up to the present. And he found he enjoyed looking back so much that it changed his approach to collecting. “As long as artists create, they continue to evolve. The fact that we can’t yet see the full scope of their art is what’s fascinating. Their work is influenced by changes in society and the times we live in. Getting to witness the moves an artist makes in real time is such a privilege.”
Kimoto says that while Opie’s methods have evolved, his singular vision has remained unchanged. He finds the artist’s works to be highly spatial even when they are expressed on a two-dimensional surface. “He’s always conscious of depth. His minimalist depiction of the world stands out in a space such as a gallery or museum, but when the work is installed in a real urban environment, it takes on a whole new appeal. Some viewers may see narrative elements, while others might perceive a pop sensibility or cuteness. It’s exceptionally rare to find an artist whose work maintains its distinct character and capacity for interpretation in any space. Above all, his art has the power to captivate.”